The Fifth Quarterly | Spring 2015 by TZELAN HOUSE

SPRING 2015

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the fifth quarterly

ISSUE 2

a tribute to artful living

05 latest creations

08 musings

12 on site: milan

16 capturing spring

20 portrait of an artist

Introducing Tzelanâ&#x20AC;&#x2122;s whimsical array of leather case goods by Italian craftsman Oscar Maschera

Designer Tony Chi reflects on his journey from the small island of Taiwan to starting life anew on the big island of Manhattan

With Salone and the Universal Exhibition propelling Milan into the global spotlight, Tzelan makes a subtle, illuminating debut

A visit to George Nakashimaâ&#x20AC;&#x2122;s workshop in New Hope, Pennsylvania gives a renewed sense of hope for the new season

Get to know the remarkable architect-cum-artist Kia Pedersen and her new creative collaboration with Tzelan

SPRING 2015

We welcome you to visit t zelan house. for appointments: w t e Special thanks to Mitchell Denburg bespoke rugs & textiles 2

:: www.tzelan.com :: 1 212 465 1109 :: tzelan@tzelan.com

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01. The sun sets in Beijing, China; 02. Spring cleaning at Tzelan House, Soho, New York; 03. Santa Monica n Manhattan, we never quite feel spring. It typically resembles Beach, California; 04. Designer Jessica Corr inspects the Ongo, Milan, Italy; 05. Tammy’s #tzelanmoment in a triple-wrapped wool scarf or a chill-to-the-bone ensemble Buenos Aires, Argentina; 06. On site with Contardi in Milan, Italy; 07. Tzelan’s Robert Louey, Alison Chi and worn for months on end before morphing into a flirty summer Gerald Morin break for lunch in Soho, New York; 08. Duomo, Milan, Italy; dress, draped leather jacket and strappy sandals, the choice look for bare-legged twentysomethings in West Soho, where Simultaneously, we’ve been globetrotting and visiting our various Tzelan is based. The change between seasons flashes by all too quickly, partners in Beijing, Shanghai, Taipei, Buenos Aires and London. with the distinctions between four diminishing into two, arctic and In a recent trip to Los Angeles to meet with our brand ambassador hot. So, how then, does one capture spring? Robert Louey, we were moved by a video posted on www.onbeing.org– There’s a subtle and delicate awareness found in the air, a quiet shift –a public radio conversation and podcast focused on the animating in mentality that gives instant hope, light and life for the promises a questions at the center of human life like, “How do we want to live?” new season will bring following the harsh and cold winter. It’s this The video featured an excerpt from an interview with actor Bill Murray, effervescent spirit that we base our second issue of The Fifth Quarterly who answers the question “What is it like to be you?” on: “Spring Hopes Eternal.” His reply was simple. “The only way we’ll ever know what it’s like It also reflects our own fledgling progress as we step into the world. to be you is if you work your best at being you as often as you can,” Since our last issue, we have officially launched he said. It triggered us to think about our our website tzelan.com, which mirrors the authentic selves, who we were and why we–– inspired people, places and things we chose our friends and family, from interior designer to highlight in this newsletter. We also began Tony Chi to the late, great George Nakashima to use the hashtag “#tzelanmoment” across and his venerable family of woodworkers various social media platforms to pay homage (pages 8 and 16, respectively) endeavor to a letter from tzelan to the visceral moments of creative brilliance create. It is from pouring our efforts into that define our brand. products of global resonance that we hope Offline, exciting new products also made to encourage others to be inspired by beauty, their debut, like our charming Ongo table lamp designed by Jessica whether that’s a timeless, elegant formality or simply, from nature’s Corr in collaboration with Contardi, which was introduced to the discard. An eternal optimism and courage of conviction––or, spring’s industry at tradeshow Salon del Mobile in Milan (for the full story, see call––was ever-present and innately felt. page 12). We also released The Lattice tabletop collection for retailers So as we gear up for the embrace of another season and shed our around the globe (and are developing another inspired series with layers (both physically and figuratively) in anticipation of all to come, artist Kia Pedersen, page 20), finalized our Tzelan Bath collection from all of us at Tzelan, we wish you the utmost joy and delight. in collaboration with Cooper & Graham, and worked with glass, Here’s to the thaw. lacquer and leathers (page 5) to create a wide-range of functional and sophisticated objects.

First Bloom

Alison Chi & Tammy Chou 3

SPRING 2015

bath for contract inquiries, contact cooper & graham at: +1.212.226.2242 commsales@cooperandgraham.com

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Leather Whimsy latest creation

Artfully arranged leather case goods from Tzelan—made in collaboration with master craftsman Oscar Maschera—make their debut this spring. With a savoir faire rooted in a thousandyear-old village in Italy’s Marche region, Oscar Maschera’s handmade process takes two hand-cut, vegetable-tanned skins and pieces them together with elegant pleats and hand stitching for unique effect. Tzelan by Oscar Maschera is available for purchase in four modern, multi-purpose silhouettes and a navy and ochre color combination.

SPRING 2015

the

Writer’s Desk the collected

Life is an accumulation of extraordinary experiences. Whether temporal or otherworldly, physically tangible or the ever-elusive figments of our imagination, our personal collection of disparate ephemera and memories reveal who we are. In our new series “the collected,” we feature our dearest friends’ inimate spaces of creativity and collection, beginning with the desk of fashion writer and Tzelan consultant Elizabeth Peng at her home in Manhattan’s Upper West Side.

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costes candle

fendi monster

japanese sweets

custom stationery

collected from the hotel costes, paris. “This is the candle I’m currently burning at home. It’s with the alluring scent from the chicer-than-chic hotel that also runs one of my favorite, rudest cafes, L’Avenue, in Paris. We have a nice history.”

collected from fendi, hong kong. “Nothing says ‘grrrrr’ quite like a Swarovski snaggletooth. Bonus? I got the wallet in advance of its stateside release. Thanks, China.”

collected from tokyo. “I go to Japan every year to get lost, refresh and more importantly, shop. I turn into a weapon of mass consumption and buy everything, down to the colorfully-packaged candies at Lawson convenient store.”

collected from smythson london. “A mentor figure once told me to always have beautiful stationery on hand. There’s something terribly romantic about sending and receiving a handwritten thank you or note. For me, Smythson of Bond Street is it.” arranged in a blue, geometrical-print tzelan lacquer box.

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clippings

sticker swag

musings

letters

collected from china.

collected from all over. “My laptop is my livelihood, so I like to add flair with stickers that make me smile, like stylist Nicola Formichetti’s Nicopanda caricature or artist Alex Israel’s from his art book forThe Ullens Center of Contemporary Art in Beijing.”

collected from all over. “I write down everything, especially during interviews. I also doodle. My journal of choice is the Smythson Premier. The red ribbon was given to me by designer Tory Burch for good luck when flying.”

collected from all over. “I keep every letter, greeting and thank you sent from friends and designers. Love notes are somewhere on the bottom... of my waste bin, which is, at the very least, a beautiful leatherworked Oscar Maschera and Tzelan creation.”

“Writing about fashion at the intersection of East and West is profoundly rewarding. I keep all of the publications I’ve ever contributed to. For this Vogue China, I introduced Carolina Herrera and her daughter Carolina Jr. to Mainland readers.”

arranged in bone inlay tzelan box. 7

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From a Small Island to a Big Island musings with tony chi

“

oday, looking back, there’s only one way to summarize the journey,” says Tony Chi, founder of New York-based design practice tonychi and associates. Peering through his signature roundframed glasses, typically red or cobalt blue (depending on his mood), Chi has a layered, almost meditative look in his eyes. The lyrical melody of xiao flute and piano plays in the background, its simple instrumental sound a light overture to the rich, theatrical tale that is about to unfold. “The story begins from a small island to a big island,” he continues, half present, half consumed with his never-ending list of to-dos, whether for a project in London, Mendoza, Chengdu or Hong Kong. His hands idle away at colored pencils strewn across his studio desk in Soho, New York. “It was from an island full of memories, or Taiwan, that I traveled to start a new life here on Manhattan, a lonely island.” For Chi, who has called New York City home for over 40 years despite spending considerable time abroad (he recently penned a guest column as a “frequent flier” for The New York Times offering savvy travel tips), his first encounter with the City and coming to America as a young adolescent was a jarring experience. For starters, it was characterized by the absence of light. “I remember crossing the [Williamsburg] Bridge from JFK airport,” Chi recalls, “It was after midnight and the city was dark. Delancey Street was dark, the right turn onto Avenue B…god, was it dark and lonely.” That peculiar feeling of isolation, of living in an impenetrable, concrete jungle as opposed to an open one with glittering skyscrapers and hopeful

dreams, would set the tone for much of his early youth. He learned to speak English and to assimilate into American culture—his first New York memories include fishing and crabbing at Coney Island and buying a t-shirt of football legend Joe Namath. Even his name “Tony” originated in haphazard fashion. Tony Chi, circa 1992. While enroute to New York, the Chi family had to transfer flights during a stopover in San Francisco International Airport. Tony was told by his mother to return to “Gate T to NY” in case he got lost––“to NY” became “Tony” when asked to write his English name later on in middle school. (Those were the only combination of letters that left a strong impression.) He found solace in communicating through art at the High School of Art & Design. In the classroom, if he wasn’t cutting class (“It was the 70’s!”), he constantly doodled or painted with watercolors. Outside of the classroom, Chi was inspired by music, another universally understood, sensory experience, and traveled around the U.S. to catch acts like Led Zeppelin, Eric Clapton, Deep Purple, The Grateful Dead and The Allman Brothers Band. High school, he cites, was one of the happiest times of his life. Afterwards, Chi studied architecture for a year before transferring to The Fashion Institute of Technology to pursue a degree in interior design. It was during this time that he learned to cultivate his eye and develop a deep appreciation for style, through the flamboyant design world inhabited by already established friends like Juan Montoya and Vicente Wolf. “West Broadway yesterday,” Chi recalls, “was Soho today.” 9

SPRING 2015

Tony Chi at his studio desk in Soho, New York, 2015.

Downtown had this cool, creative camaraderie––from Chinese hangout Japan and Hong Kong. With the right combination of luck in Oh Ho So to the old Castelli Gallery up the street. partnership (with restaurateur Paul Hsu, real-estate developer Allan The architecture and design industry then, however, placed heavy Zeman and Hyatt Group’s Frank Ansel), timing and persistence, Chi emphasis on schooling, specifically by championing Ivy League built a successful practice in ten years. graduates of Columbia, Harvard and Yale. For those, like Chi, who went “From a professional point of view, I think I bridge old masters from against the conventional grain––or couldn’t afford the hefty tuition the past,” he says of sustaining his now thirty-one-year-old practice. fees of private universities––they sought to define their own niche. Chi, “I practice like an old scholar. I don’t look at business.” His signature already a part of the inspired downtown scene, set up his own design aesthetic, “invisible design” which is “what touches you rather than what studio on 611 Broadway in the iconic you see,” is a resulting culmination of beaux art Cable Building in 1984. his past, present and future defined “I basically did my thing, I didn’t by his respective experiences in Asia care about anything else. [They] would and the West. Though he is always invisible design is never imagine that you would be good reconciling the two sides, he veers what touches you rather than enough for them, socially, economically, towards his Eastern roots when creatively, financially, intelligently, et explaining his outlook in life. what you see cetera,” Chi explains. “But when you “In Chinese culture, we were start creating outrageous designs, brought up to believe one thing. It people start to look at you differently. When New York Magazine cited was called the collection of life. You collect things over a lifetime and me as one of their upcoming top ten designers, people started to ask you treasure them. When you die, you take all your collection and you ‘Who the hell is this guy?’” somehow disperse them to give to your loved ones or you bury them Chi’s big break came with the Café Society on 21st and Broadway, a with you,” Chi explains. That “over a lifetime” mentality is also applied sleek restaurant that led to more projects within Manhattan before the to his design process. “Most people don’t seem to see things that have market crashed in 1987, forcing him to look elsewhere for opportunity. aging beauty in them. People like new things, but I always gravitate towards He set his sight toward the small island of his past: Taiwan. Immediately things that have been around for a while…things that have patina.” following, he began to explore other parts of Asia, including Indonesia, Is there one project in his collection of life that has been the total

“”

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Tammy Chou & Tony Chi in Suzhou, China, 2007.

embodiment of his creative vision? “Every job to me is a draft of some sort,” he replies, citing the impossibility of executing one project from its pure point of origin after passing through the hands of the builder, developer and operator. “I draft them like a sketch because if it’s a sketch, it’s not so hard to part with…the one thing I learned is to never fall in love. If you fall in love with something, you cannot let it go. None of [my projects] are full-fledged paintings. “The only thing that will stay pure and true for me,” he adds, “is if I ever build my house. I will put myself in it.” Having recently purchased land overlooking the Hudson River in Garrison, New York, Chi is well on his way to creating his pièce de résistance. Currently in his fifth iteration of its design, Chi’s Garrison house will be free of perceptions, which he believes are rooted in the past, what has already happened. “I’m trying to create something new,” he says firmly. Formality, he advises, is also crucial to understanding one’s relationship to a home. “I want the formality [of Garrison] to say, ‘I am confident in this house.’ When you feel very confident in this house, many things can happen. You wake up confidently and you’re going to live that day confidently…I think the end result will be incredible.” So incredible, in fact, that Tony Chi—the design world doyen who created everything from nothing, the grandmaster with the impenetrable force, much like the spirit of the dark and lonely island he once perceived Manhattan to be––may finally fall in love? “Oh,” he says, amused by the idea. “Just maybe.”

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01. Tzelan House 02. Raoul’s 03. Old Castelli Gallery 04. Fanelli Cafe

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05. West Broadway 06. Former residence of a great designer 07. Old Oh Ho So Restaurant 08. Tony’s 611 Broadway studio

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M Milanese Holiday on site

Ta kin g a l o o k b a c k at s om e o f o u r f a v o rit e # t z el a n mo me n t s fr o m o u r in s p ired t rip t o I t a l y.

ilan has always been an important cultural and design h u b f o r t h e t r a d e , p a r t i c u l a r l y d u r i n g s p r i n g ’s annual Salone del Mobile (or Salone), the global furniture fair showcasing the industry’s leading design and manufacturing talent since 1961. Coincidentally, the Italian capital of the historic Lombardy region also serves as host for another i n t e r n a t i o n a l e v e n t t h i s y e a r — t h e U n i ve r s a l Exhibition (or Expo M i l a n o 2 0 1 5 ) , w h e r e ove r 1 4 0 countries will introduce new technology aimed at solving global problems of sustainability. For Tzelan, traveling to the industrial city rife with creative energy was a given. We took part in our own series of springtime misadventures: debuting our humble yet luxurious Ongo lamp at Salone, celebrating la dolce vita with our friends, near (like Stefano Ronchetti of Milan’s Marzorati Ronchetti) and far (like the Lau family of Hong Kong’s B.S.C. Group and ColourLiving), over Aperol spritzes in the artistic Brera district; supplanting our gluten-free New York diets with pasta-rich Milanese ones; and exploring the high-low terrain of luxury shopping row Via Monte Napoleone to the up-and-coming cool of Zona Tortona.

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Images to the left: channeling the celebratory spirit of la dolce vita at Zona Tortona in Milan, with irreverence rivaling director Paolo Sorrentino’s La Grande Bellezza. Images below: beautiful products take center stage with (top to bottom) Spanish heritage house Loewe’s artisan vessels created by Jose Luis Bazan, Japanese design studio Nendo and founder Oki Sato’s collective work at Museo della Permanente and the University of Milan, where architecture and experimental material converged in public displays of art.

Images above: city scenes from Milan, from Duomo and the famed shopping arcade Galleria Vittorio Emanuele II. Images to the right: preparing for Tzelan’s friends and family dinner at the legendary Ristorante La Briciola to toast the launch of the Ongo lamp (pictured far right) with the cinematic feel of a beautiful Fellini film, like Juliet of the Spirits.

SPRING 2015

the

Ongo

Deconstructed facts & figures

Highlighting the salient features that comprise our Ongo lamp, which debuted at Salone del Mobile in Milan, Italy earlier this spring.

April 14

2013

The day the Ongo lamp was introduced at Salone 2015 in Milan, Italy.

The year the Ongo was conceived, taking two years, in total, to complete.

1/2 lbs.

The lightness of the Ongo lamp. 4”or 100MM tall 8”or 200MM in diameter The Ongo lamp is cordless for convenient portability with an environmentally friendly battery pack that lasts for approximately �� food and beverage cycles.

132 The number of lighting fixtures available by tzelan’s Ongo collaborator, Contardi, a luxury Italian lighting manufacturer often considered the “couturier of contemporary lighting.”

6 Prototypes in total, sent between New York City and Milan during the creative process.

2 Adjustable light intensities give the Ongo lamp a soft glow with its high performance LED light that mimics a tabletop candle.

9 Color combinations and finishes in mix-and-match style, including handblown Murano glass, brass, platinum, rose gold, white glow and black gold.

T h e O n g o w a s t h o u g h t f u l l y d e s i g n e d b y J e s s i c a C o r r. H e r w o r k h a s b e e n f e a t u r e d a t t h e C o o p e r H e w i t t S m i t h s o n i a n D e s i g n M u s e u m , P r a d a ’ s N e w Yo r k flagship store, Andaz 5th Avenue and Park Hyatt Shanghai. designed in new york, made in italy 14

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#TZELANMOMENT

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Images to the left: a compilation of scenes from the George Nakashima Studio and family estate in New Hope, Pennsylvania.

William Lau Jr., BSC Group

Monica, Tory Burch

Jessica Corr, Designer

Nicole Rochette, Glow

Olivier Weppe, Glow

Stefano Ronchetti, Marzorati Ronchetti

rtful moments exist in the evanescent everyday, giving deeper meaning to life lived in the here a nd now, however fleeting. To mark the elusive transition into the new spring season, Tzelan visited the late George Nakashima’s iconic wood workshop and live-in estate in New Hope, Pennsylvania. For George Nakashima, the America n-bor n Japa nese architect t ur ned ar t ist, wood worker a nd fur niture maker f rom Spoka ne, Washington, live wood wa s his me d iu m o f choice. “To be intimate with nature in its multifaceted moods,” Nakashima said, “is one of the greatest experiences of life.” It is within that experience, and through a formed, inwardly approach with direct experience, that he created exceptional works of art. La rgely considered the father of the A merica n cra f t movement and one of the most respected innovators of 20th century furniture design, Nakashima looked towards naturally inspired elements, like the moss garden and teahouse at Rinzai Zen Buddhist temple Saihoji in Kyoto, or the stone and glass of Chartres, France. But ultimately, it was the nobility of the tree that appealed to him most. “George was ver y much a pu r ist ,” descr i bes h is dau ght er M i r a Na k a sh i m a . “He wanted, when you touch the furniture, to also touch the wood.” Na kashima pa id the ut most respect to nat ure, a nd specif ica lly, tress, giving a renewed sense of purpose and new life to a tree and “its eternal patience, its suffering caused by man…its witness to thousands of years of earth’s history, its creations of fabulous beauty. It does nothing but good, with its prodigious ability to serve.”

While the tree lives on in noble forms, through collected lumber fashioned into “useful objects to fulfill man’s life,” so too does his personal legacy through Mira—the keeper of the George Nakashima Studio—her son Ru Amagasu and his son Toshi, who all live on the family estate and continue Nakashima’s important work, alongside the craftsmen who were trained by her father before his departure in 1990. Mira, who holds two degrees in architecture, inherited the Nakashima legacy and has continued to expand upon his oeuvre with newly evolved design solutions like the studio’s Keisho Collection, which represents a continuity of practice, tradition and technique dedicated to her mother, Marion Nakashima. Ultimately, it is Mira’s greatest wish to fulfill her father’s dream in providing “Altars of Peace” for each of the seven continents on earth. The first “Altar of Peace,” constructed from a magnificent pair of matched black walnut, was installed at the Cathedral of St. John the Divine in New York City in 1986. The second has found it way within the newly renovated Russian Academy of Art in Moscow to help inspire peace in the new millennium. It was in this peaceful, serene presence of Mira and the Nakashima fa mily, their st udio, their woodwork a nd the g reatness of their surrounding woods—with cherry blossoms in short, full bloom— that inspired us to embrace nature’s intimacy and gave us hope in our own pursuit of meaningful everyday living, in highlighting the importance of craft, our creative future, and for now, spring.

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Kia Pedersen portrait of an artist

â&#x20AC;&#x153; â&#x20AC;?

I chose printmaking because there are a lot of rules in printmaking and I get to break the rules, and then they become mine.

p o r twr awi w t .ot fz ealna na .rctoi smt

“I had to come up with my own way of seeing things in order for them to make sense to me,” says painter, printmaker, sculptor, architect and alchemist Kia Pederson on finding her own visual identity. Based between New York City and Coecles Harbor on Shelter Island, Kia’s greatest artistic influence has been the inspired, delicate dance of wind on the water, which she translates into gestural pieces of art that combine experimental materials and texture with sharp, dramatic relief. Having sailed since she was eight years old with her father William Pederson, the iconic architect and founding design partner of Kohn Pedersen Fox Associates (or KPF), Kia cites (in addition to dad), the dancer

Martha Graham, painters Georgia O’Keefe and Jackson Pollock and the composers Chopin and Saint-Saens among her favorite creatives. With a varied background studying printmaking and sculpture at Carleton College and architecture at Yale, Kia also oversaw global store construction for brands like Polo Ralph Lauren and Calvin Klein. Ultimately, it was her desire to create works of art that resonated most. Ever since, she has adhered to her motto, to “keep it real,” a mantra as simple as her love for popcorn and beer. This spring, Kia and Tzelan begin an ongoing creative collaboration, transferring her unique art into products for everyday living, beginning with heritage porcelain plates.

SPRING 2015

kia.

Here, we decipher the multifaceted world of the inimitable artist:

A CREATIVE CALLING

BREAKING THE RULES “Abstraction is something that has always been held up high on a platform in my household. But for me, it’s not so much abstraction as it is coming up with a process that’s uniquely my own. I chose printmaking because there are a lot of rules in printmaking and I get to break the rules, and then they become mine. I enjoy things that are mine.”

“I really like working with my hands, so when I was in architecture, I used to love building models. But then, about fifteen years ago, I started noticing that computers were taking over. I was working for ‘Polo Ralph Lauren’ and then ‘Calvin Klein’… everything was digitized. We had to take photographs and link them on the computer and it just wasn’t satisfying to me anymore. I learned that I didn’t like managing projects as much as I did making things. “

—Tar on Copper Portraits

THE LIGHT IN THE EAST END “Jackson Pollock’s house is out on the East end [of Long Island] near where i live. He’s on the mainland in Springs and I’m on Shelter island…but he is still [very much alive] there because his house has been kept as a museum and you can go in and put on these little booties and walk over the floor that he painted on, which is much like an abstract painting on the floor. So I feel very much his kindred spirit in terms of the quality of light in the East end. Joseph Giovannini was nice enough to say to me that I was the next generation of Jackson Pollock, which was one of the best compliments I’ve had.”

COLLABORATING WITH TZELAN “It’s been very exciting to work with tzelan because I love home products, and we designed charger plates for a bowl to sit on top of so there’s still a visual, viewing component. Also, in my family, when you come home with a beautiful bowl, it’s an exciting event. It’s very organic. When my dad would come home from trips to Japan or Korea, he would bring an object, and it always came in a beautiful box and it was always something he picked out lovingly.”

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READING WIND PATTERNS

“In the beginning, I really looked to my father to be my main critic since my family has been incredibly supportive. Any artist needs to have a benefactor and my parents have been those benefactors. But then I needed to take a big jump and start doing my own things, so it’s recently that I’ve been working more with galleries for input. They’re into colors that he’s not into (he likes black and white), whereas I’ve been very much into blues.”

ARTIST AND BENEFACTOR “Whenever I think about my work, it’s really influenced by reading wind on the water. I’ve been sailing since I was eight, and my dad was the person that taught me. For the last six years, I’ve been racing, so I’ve sort of taken it to another level. I race three days a week in the summer time.”

MINIMAL EVERDAY LIVING “I’m a minimalist. I have very few things and I love materials, like my floor in the city, which is teak with wide boards. Then I have one of my carpets from the University of Michigan that I had made. My whole apartment was intended to be a showcase for my work, so it’s really meant as a gallery space.”

THE LIGHTNESS OF TOUCH “The more you want to touch it, the more I like making it. It’s a sensual quality and for me, when I see something I really like, I want to touch it. It’s also a reaction to being in museums where everything is cordoned off and says ‘Don’t Touch.’ Since the architecture in my family is so pristine, you feel like you can’t touch anything. Now, in my parents’ apartment, it’s filled with my art. So there’s this very formal architecture with very gestural paintings…I manage to bring an organic quality into my father’s architecture.”

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Are you following us yet?

@tzelanhouse

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Special Thanks Mira Nakashima, Satoru Amagasu, John Lutz, Alexis Caldero George Nakashima Woodworker www.nakashimawoodworker.com Mitchell Denberg bespoke rugs & textiles www.mitchelldenburg.com Massimo Brigandi, Gianluca Camnasio Contardi Lighting Italia www.contardi-italia.com Warren Pearl, Debbie Pena Cooper & Graham www.cooperandgraham.com Claudia Serafini Oscar Maschera www.oscarmaschera.com

Editing: Elizabeth L. Peng Design: Gerald Morin Robert Louey Production: Lin Family Concept Press Inc. Illustration: Gerald Morin Photography: Gerald Morin Tony Chi Olivia Panutomo Elizabeth L. Peng Contardi T.K. Ning

Tony Chi tonychi & associates www.tonychi.com Nicole Rochette, Olivier Weppe, Guillaume Lemaitre www.gl-ow.com Stefano Ronchetti www.marzoratironchetti.it Kia Pedersen www.kiapedersen.com George Venson, Voutsa www.voutsa.com

t z e l a n i n t e r nat i o na l l l c

n S Pe RwI NpGr o2 d 0u 1 5c t

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the

octave dish before we say goodbye

Like a precious-cut stone, the Octave Raised Dish by Tzelan adds flair to function for tabletop use. Originally designed as a soap dish, the Octave was reinterpreted with a multi-purpose, double-sided design in optical glass. Perfect for displaying jewelry, coins, keys or confectionary sweets.

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T H E

F I F T H

S U M M E R

Q U A R T E R L Y

2 0 1 5 — I S S U E

R E T U R N

T O

A R T I S T R Y